Over at Forbidden Planet, Richard Bruton reviews West: Autumn Dusk, the finale of Volume II, saying:
“This is brilliantly told work, complex, inventive, playing with multiple genres to create a true saga. The non-linearity provides the unusual structure, throwing you off kilter slightly and making you piece it all together. There’s much to enjoy here, and even more to be gleaned from multiple readings.”
Also, creator Paul Rainey features both Autumn Dusk and The Whale House (part two) on his site:
“Cheverton is, I think, one of the best comic writers around at the moment and it’s probably this ability that attracts such strong artists to work with him. In West: Autumn Dusk it’s the always excellent Tim Keable and in The Whale House it’s the accomplished Chris Doherty.”
Our thanks to both Richard and Paul for their time and kind words.
Forbidden Planet’s Richard Bruton reviews The Whale House, part two, saying:
“…this, ladies and gents, is a superb read. In fact it may be one of the best things Cheverton’s ever written… And it’s absolutely Doherty’s best work thus far.
“Throughout the issue the tension builds and builds, and even though there’s little out and out menacing here, it’s again all down to storytelling, perfectly done. I don’t think I’ve ever been this breathless at the end of a comic where essentially the protagonist has dinner and meets a strange family before.”
Also, the MOMBcast comic podcast features reviews of both The Whale House, part two and West: Autumn Dusk in their most recent show.
Our thank to both reviewers for their time and kind words.
In Silent Graves by Gary A. Braunbeck
My rating: 2 of 5 stars
While it has a lot going for it, this book is a complete mess.
Braunbeck has written, at heart, a very affecting book about loss and bereavement, but the excessive horror undermines much of what should be sensitive work, but which descends into gross-out far too easily. (I’ve been reading horror - from the lyrical to the grotesque - for 35 years, so I’ve certainly seen it all, but the scene in the morgue will be hard to stomach for many people.) Adding to this detraction, the protagonist spends much of the first third of the book flailing uselessly - this may be realistic, as far as it goes, but it’s a terrible slog to get through as a reader, especially when the presumed antagonist becomes a partner and excuses his previous actions with a flip comment that infuriates more than explains.
The second half of the book seems pathetically indebted to the sharp and incisive work of Jonathan Carroll, a sentiment and style utterly at odds with the rest of the laborious horror that has come before.
Unbelievably - as I had persevered with this book because of its glowing reviews, despite my almost complete lack of interest or enjoyment - Braunbeck somehow managed, in the final pages, to pull off a scene with such uncloying sentiment and heartfelt emotion that I finished In Silent Graves with an honest and unexpected tear in my eye. Really still not sure how that happened.
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